Louis Braddock Clarke

UNDER BOOM (2024) is a hallucinatory audiovisual experience shaped through a combination of human-shaped sonic ecologies and deep time. Framed as a listening station and a geological hotspot to imagine society’s shifting sonic world, the work takes the audience through an anthropogenic experience with infrasound, an inaudible bandwidth of 0–20 Hz filled with shockwaves caused by human activities. These include mining blasts, burning space debris, air strikes, atomic bangs, sonic booms, seismic guns, and the calving of ice sheets. The work stems from the discovery of a listening island in the mid-Atlantic, which due to its geo-positioning and low noise ratio is hyper-sensitive to long-wave sounds. From this island, the sonic ruptures of the Earth’s ever-changing global acoustics and politics can be heard. UNDER BOOM is captured using stroboscopic techniques, where anthropogenic beats orchestrate the presence of visuals. Infrasonic events become markers of visibility, entangling frequency with video frame-rates in an act to dissolve ocularcentrism. The frictions of vibrating matter, shaking sonics, and flickering images highlight the physical renderings of human sonic disasters on the Earth. What if the Earth was dancing faster and faster every year? The 2-channel installation alludes to the ever-sounding surfaces of our Earth, and how our inaudible soundscapes are getting louder and louder, heavier and heavier. UNDER BOOM suggests that tomorrow will be louder. Everyday infrasound energy increases in quantity and intensity as we see more and more disasters, geopolitics, land grabs, wars, genocides, colonizations (earth and space), and an inherent condition of capitalism to keep accelerating. These entanglements of devastation manifest in sound, and echo around the Earth as long waves. It is infrasound that moves our bodies to the subwoofers in techno clubs, it is infrasound that flirts with ghosts, and it is infrasound that will be the sonic evidence of the Anthropocene.

UNDER BOOM (2024) is a hallucinatory audiovisual experience shaped through a combination of human-shaped sonic ecologies and deep time. Framed as a listening station and a geological hotspot to imagine society’s shifting sonic world, the work takes the audience through an anthropogenic experience with infrasound, an inaudible bandwidth of 0–20 Hz filled with shockwaves caused by human activities. These include mining blasts, burning space debris, air strikes, atomic bangs, sonic booms, seismic guns, and the calving of ice sheets. The work stems from the discovery of a listening island in the mid-Atlantic, which due to its geo-positioning and low noise ratio is hyper-sensitive to long-wave sounds. From this island, the sonic ruptures of the Earth’s ever-changing global acoustics and politics can be heard. UNDER BOOM is captured using stroboscopic techniques, where anthropogenic beats orchestrate the presence of visuals. Infrasonic events become markers of visibility, entangling frequency with video frame-rates in an act to dissolve ocularcentrism. The frictions of vibrating matter, shaking sonics, and flickering images highlight the physical renderings of human sonic disasters on the Earth. What if the Earth was dancing faster and faster every year? The 2-channel installation alludes to the ever-sounding surfaces of our Earth, and how our inaudible soundscapes are getting louder and louder, heavier and heavier. UNDER BOOM suggests that tomorrow will be louder. Everyday infrasound energy increases in quantity and intensity as we see more and more disasters, geopolitics, land grabs, wars, genocides, colonizations (earth and space), and an inherent condition of capitalism to keep accelerating. These entanglements of devastation manifest in sound, and echo around the Earth as long waves. It is infrasound that moves our bodies to the subwoofers in techno clubs, it is infrasound that flirts with ghosts, and it is infrasound that will be the sonic evidence of the Anthropocene.

The shifting scapes of material in the ground’s sub-surface bend, tweak, and distort magnetotelluric currents. Vertical strata of rocks, soils, and metals slump over time due to climatic variation, disturbing the porous materials below. As the minerals fluctuate, telluric currents also shift in an ever-developing sonic dialogue. The magnetic data stored and amplified by the ground properties of the site are decoded by a geo-tool. The Earth becomes a substrate for listening, in which the underground filters and displays electro currents. The work borrows from scientific measuring devices which have been re-purposed for the act of listening rather than data collection. The installation offers a live dig into the electrical depths of The Hague. The work is part of the exhibition 'A State of Amplitude' in collaboration with ReWire festival. Exhibited: Quartiar Contemporary Art Initiatives as part of ReWire festival 2021

The shifting scapes of material in the ground’s sub-surface bend, tweak, and distort magnetotelluric currents. Vertical strata of rocks, soils, and metals slump over time due to climatic variation, disturbing the porous materials below. As the minerals fluctuate, telluric currents also shift in an ever-developing sonic dialogue. The magnetic data stored and amplified by the ground properties of the site are decoded by a geo-tool. The Earth becomes a substrate for listening, in which the underground filters and displays electro currents. The work borrows from scientific measuring devices which have been re-purposed for the act of listening rather than data collection. The installation offers a live dig into the electrical depths of The Hague. The work is part of the exhibition 'A State of Amplitude' in collaboration with ReWire festival. Exhibited: Quartiar Contemporary Art Initiatives as part of ReWire festival 2021

The shifting scapes of material in the ground’s sub-surface bend, tweak, and distort magnetotelluric currents. Vertical strata of rocks, soils, and metals slump over time due to climatic variation, disturbing the porous materials below. As the minerals fluctuate, telluric currents also shift in an ever-developing sonic dialogue. The magnetic data stored and amplified by the ground properties of the site are decoded by a geo-tool. The Earth becomes a substrate for listening, in which the underground filters and displays electro currents. The work borrows from scientific measuring devices which have been re-purposed for the act of listening rather than data collection. The installation offers a live dig into the electrical depths of The Hague. The work is part of the exhibition 'A State of Amplitude' in collaboration with ReWire festival. Exhibited: Quartiar Contemporary Art Initiatives as part of ReWire festival 2021

Entering the zone of immortal noise allows for both material and non-material mechanisms to be measured. This live territory of iron ore extends beyond the physical particles and into a liquid sphere. A cacophony of noise and information, bounded by a folding dimension. The magnetic data stored and amplified by the metallic properties of the site is decoded by a geo-tool. Behind these curtains of physicality, a series of invisible inscriptions emerge that flow and dance in space. Here, the land surveyor becomes an active reader of deep-time, present-time and new-time while constantly encountering temporal morphology. Entering this iron-core of signals becomes fundamental to the inquisition of invisible space and techno-centric-positioning.

Entering the zone of immortal noise allows for both material and non-material mechanisms to be measured. This live territory of iron ore extends beyond the physical particles and into a liquid sphere. A cacophony of noise and information, bounded by a folding dimension. The magnetic data stored and amplified by the metallic properties of the site is decoded by a geo-tool. Behind these curtains of physicality, a series of invisible inscriptions emerge that flow and dance in space. Here, the land surveyor becomes an active reader of deep-time, present-time and new-time while constantly encountering temporal morphology. Entering this iron-core of signals becomes fundamental to the inquisition of invisible space and techno-centric-positioning.

Entering the zone of immortal noise allows for both material and non-material mechanisms to be measured. This live territory of iron ore extends beyond the physical particles and into a liquid sphere. A cacophony of noise and information, bounded by a folding dimension. The magnetic data stored and amplified by the metallic properties of the site is decoded by a geo-tool. Behind these curtains of physicality, a series of invisible inscriptions emerge that flow and dance in space. Here, the land surveyor becomes an active reader of deep-time, present-time and new-time while constantly encountering temporal morphology. Entering this iron-core of signals becomes fundamental to the inquisition of invisible space and techno-centric-positioning.

Entering the zone of immortal noise allows for both material and non-material mechanisms to be measured. This live territory of iron ore extends beyond the physical particles and into a liquid sphere. A cacophony of noise and information, bounded by a folding dimension. The magnetic data stored and amplified by the metallic properties of the site is decoded by a geo-tool. Behind these curtains of physicality, a series of invisible inscriptions emerge that flow and dance in space. Here, the land surveyor becomes an active reader of deep-time, present-time and new-time while constantly encountering temporal morphology. Entering this iron-core of signals becomes fundamental to the inquisition of invisible space and techno-centric-positioning.

Entering the zone of immortal noise allows for both material and non-material mechanisms to be measured. This live territory of iron ore extends beyond the physical particles and into a liquid sphere. A cacophony of noise and information, bounded by a folding dimension. The magnetic data stored and amplified by the metallic properties of the site is decoded by a geo-tool. Behind these curtains of physicality, a series of invisible inscriptions emerge that flow and dance in space. Here, the land surveyor becomes an active reader of deep-time, present-time and new-time while constantly encountering temporal morphology. Entering this iron-core of signals becomes fundamental to the inquisition of invisible space and techno-centric-positioning.

The device used in the film ‘Untangling Noises of Matter’ is a self-built geo-tool that examines and scans different portions of the electromagnetic spectrum. As an installation it becomes a live listening station to the surrounding signals that navigate the ionsphere. According to the specific location of setup the ‘Radio Ear’ device can be tuned and programmed to compliment the magnetic signals of the local spectral ecology.

The device used in the film ‘Untangling Noises of Matter’ is a self-built geo-tool that examines and scans different portions of the electromagnetic spectrum. As an installation it becomes a live listening station to the surrounding signals that navigate the ionsphere. According to the specific location of setup the ‘Radio Ear’ device can be tuned and programmed to compliment the magnetic signals of the local spectral ecology.

This installation takes on the passage of a phase transition. The object (early 20th century vase) exposes it’s fragile nature by being caught between two stages of being. Through a machine turbulance the vase orchestrates it’s own manoeuvres, flying before our eyes in a set of unrecognisable positions. A split screen film enlarges on the narratives of balance, adaptation, motorised life, simulation and perpetual behaviours.

The project started with building antennas to receive electromagnetic waves released by the machinery of De Electriciteitsfabriek, The Hague. The current produced in certain periods of the Night related directly to peak uses of heat in the City. In comparision, information was also gathered outside the perimeter of the European Space Research and Technology Centre (ESTEC) in Noordwijk. This collection of data is an ongoing research which is being materialised and made physical through enscribing aluminium tubes. Through a self-built electrolysis system descriptions, symbols and raw-data are made static. These tubes are then erected back in the places of electromagnetic collection. In collaboration with Zuzanna Zgierska

Research in-house at the world's largest Radio Telescope.

Around the perimeter of Aerial 6 a series of electromagnet-ic listening is being undertaken. Placed in the bottom of the photograph the ‘Radio Ear’ is present.

An automobile’s exhaust pipe is observed meandering a desolate landscape. This space suspends key objects of freedom, in the process of obsoletion. Lost in the environment of history, giving way to a contemporary era of invisible apparatus.

In the U.S Air Force records is a series of documents withholding signs, sights and analysation of all flying ob-jects. In the records there are large proportions pointing to anomalies in categories of ‘unknown’ and ‘other’. The recently released archive is also incomplete… This series of work entailed the re-discovery of the ‘other’ and acted as a re-release of the missing pages from the archive. A suggested alternative to the known public history of ETA.

In the U.S Air Force records is a series of documents withholding signs, sights and analysation of all flying ob-jects. In the records there are large proportions pointing to anomalies in categories of ‘unknown’ and ‘other’. The recently released archive is also incomplete… This series of work entailed the re-discovery of the ‘other’ and acted as a re-release of the missing pages from the archive. A suggested alternative to the known public history of ETA.

SILENT SUN SPLATTER, photographs shot in analog format within a volcanic network of the Triple Junction in the Atlantic Ocean. This intersection of deep geological time moves in three directions: 40° North at 22.9 mm/year, 38° North at 19.8 mm/year, and East at 2.2 mm/year. Between these tectonic plates stretch a series of shifting tubes descending into the Earth’s mantle—time markers, listening posts of the outer world, and sites of chemical reactions. Through a combination of metals, bacteria, calcareous water, human contamination, and humidity, the tubes are illuminated by a “biological film,” turning these hidden places into new and astonishing landscapes. Using a blend of “bio-film” and metals from the Earth’s depths, medium-format negatives are exposed to these terrestrial “delights.” Each negative is immersed in different temporal scales of chemical formulas, all dictated and produced by the action and movement of the Earth. Colors, exposure, shutter speed, development time, and composition are analogically shaped by geological matter 544 meters beneath the Triple Junction.

SILENT SUN SPLATTER, photographs shot in analog format within a volcanic network of the Triple Junction in the Atlantic Ocean. This intersection of deep geological time moves in three directions: 40° North at 22.9 mm/year, 38° North at 19.8 mm/year, and East at 2.2 mm/year. Between these tectonic plates stretch a series of shifting tubes descending into the Earth’s mantle—time markers, listening posts of the outer world, and sites of chemical reactions. Through a combination of metals, bacteria, calcareous water, human contamination, and humidity, the tubes are illuminated by a “biological film,” turning these hidden places into new and astonishing landscapes. Using a blend of “bio-film” and metals from the Earth’s depths, medium-format negatives are exposed to these terrestrial “delights.” Each negative is immersed in different temporal scales of chemical formulas, all dictated and produced by the action and movement of the Earth. Colors, exposure, shutter speed, development time, and composition are analogically shaped by geological matter 544 meters beneath the Triple Junction.